6 Reasons You Want to Watch Severance
- Two unique settings within a contained, small-story universe. (I will write more about this in the longer review)
- Amazing cast. Adam Scott as the stoic lead, Mark, with a supporting cast that includes Patricia Arquette, John Turturro and Christopher Walken…
- Superb characterization and story-telling. The main character and all of the secondaries are complex, layered and quirky, adding to the slow-building tension
- The underlying moral and symbolic truths within the story are not yet fully baked but seem promising.
- This show has a slow ramp-up to gripping tension at the climax of this first season
- More to watch in the future because this past month, Apple approved a second season.
The Longer Review
SEVERANCE is an Apple+ production, the first season is complete, streamable now and free for subscribers. Created by Dan Erickson and directed by Ben Stiller, SEVERANCE is not a comedy. It falls into dystopian mystery with a scifi vibe. A futuristic technology at the center of the story, allows those who work at a company called Lumon Industries, to surgically divide their memories between their work and personal lives. Those individuals are called The Severed. Most of the other tech is familiar and not so modern, for example, people still drive cars around the town.
I give this series a PG rating…it’s possible it will warrant a different rating later on, but so far the mystery is more Hitchcock than Ridley Scott. My ratings usually reflect the graphic nature of the show and not the themes which in this case are harrowing for my adult brain. Would kids enjoy the show? Probably not. You won’t see explicit gore, but you will feel tortured for these characters at the center of the story, in part because of their vulnerability, which is childlike.
Regarding the setting. There are two primary “worlds” in SEVERANCE that exemplify the two worlds inhabited by the employees of Lumon.
One setting is work, the Lumon Industries office building. It feels familiar upon entering, but creepily weird the deeper in you go. The interior design is sterile, with strangely vacant work spaces and long labyrinth-like hallways. The four employees the audience follows most closely work in a large white room with no windows or access to the outside world. They are forbidden to interact with employees from other areas of the building and spend their days huddled around computers doing a job that the audience sees, but doesn’t really understand. In fact, even these employees don’t fully understand what they do, how they do it and why. It’s described as something they feel. Their work is just one of many aspects of this situation that give rise to a suspicion about Lumon. Most of the workers, including Mark (Adam Scott) submit to the rules of the company. There are a few exceptions and those exceptions give rise to Mark’s suspicion about Lumon.
The second world is Mark’s town. This is a cold, dreary place. It feels like it could be Alaska or Canada and is probably unfamiliar to most of the audience. The cold and the dark and size of the town adds to the feeling of claustrophobia, something that permeates this story. Darkness also dovetails with the theme of grief. In episode 1, the audience learns that Mark’s reason for severing came about because of the death of his wife. Mark lives in a housing complex owned by Lumon where it becomes clear, he is monitored unbeknownst to him.
My recommendation to watch SEVERANCE comes with the caveat that I’m still not sure where the story is going. I have viewed the first season and loved every episode. Not everyone enjoys a slow build to a gripping climax, but I do when it’s done well and SEVERANCE does it well. So, if you’re tempted to stop after episode 1 or 2, don’t. The tension ratchets up and up and mysteries become creepier as a conspiracy the partially unveiled.
Last night I had the privilege of watching Matt Reeve’s THE BATMAN. I enjoyed the film, though it was tough to watch, a tense experience. Graphic violence is implied more than shown, but evil and darkness are palpable in every scene. Not that the film isn’t a beautifully crafted story…it is, but the narrative, the special effects and dingy, but stylized setting of Gotham give evidence of evil in every frame. It’s pouring rain and night during most of THE BATMAN and of those scenes shot in the day, skies are gray.
Of course, this is a familiar setting for our comic book hero, the Dark Knight, but what is less familiar is the tone of utter hopelessness associated with that darkness. Violence plagues the city of Bruce Wayne. In the opening sequence, it is Halloween night and masked hoodlums run wild across Gotham causing mayhem, and at one point a gang of them threaten an Asian American man in a subway station, hitting too close to home for many of us. Halloween is also the night the Riddler commits his first murder.
The brutality of humanity is on display in THE BATMAN, begging the question: When is a society so corrupt, so evil, so far gone, there is no hope of renewal and it must be destroyed?
Batman versus the Riddler draw out this theme because in certain respects, both men are the same. Both are trying to root out corruption, Both are straining toward a just society. Batman roots out injustice by defending the good guys and working within the system. Though outside the formal police force, his link to Lt. Gordon cannot be denied, nor can anyone doubt his insider status as Bruce Wayne, the orphaned son of a beloved city father. The Riddler however, also an orphan, stands on the outside. He roots out evil by exposing it, by punishing via execution and making a public example of those who have betrayed justice. The Riddler’s first murder is the mayor of the city and subsequently other politicians and law enforcement, those caretakers of Gotham who have made their beds with the mob. Because of these assassinations and the attention he draws to corruption, Batman along with the audience are forced to focus on what is a massively broken system at the highest levels of the city.
The audience wonders whether ANY politicians or police are clean in Gotham, and can such evil be undone when the gatekeepers of justice have become those who perpetrate injustice? The Riddler sees no way out but total destruction.
On the narrative journey, Batman faces truths about his own father. The idealism with which he has viewed his parentage is shattered, evoking for me the psalmist’s words from Psalm 14, text lifted by the Apostle Paul and placed in his letter to the Romans.
The fool says in his heart, “There is no God.”
They are corrupt, they do abominable deeds;
there is none who does good.
2 The Lord looks down from heaven on the children of man,
to see if there are any who understand,
who seek after God.
3 They have all turned aside; together they have become corrupt;
there is none who does good,
not even one.
Why do I include this? I think Reeves is trying to make a theological point. I bend toward theological rather than philosophical because the powerful reality (loaded imagery) at the end of the film is a flood…as in Noah and the Biblical account of the destruction of evil.
In THE BATMAN, the Riddler has set up bombs that line the seawall on Gotham’s perimeter. The Riddler has determined that Gotham is irredeemable. Gotham must die, drown or be cleansed of its evil if the water imagery is to be understood. Only then will it be reborn. A flood to destroy evil? This is as old a tale as humanity, understood within Judaism, Islam and Christianity as that time in the past when society was so broken, nearly every living thing had to be destroyed in order for evil to be rooted out. The Riddler sets himself up as God and judge. He determines that Gotham is a total loss. Total destruction is the ONLY remedy.
Batman represents another side of this argument. Don’t miss the fact that Selina (the Catwoman character wonderfully portrayed by Zöe Kravitz), tries to coax Batman to remove himself permanently from Gotham. I can’t recall her final words to Batman precisely, but they were something like…staying here and trying to save Gotham will kill you.
That comment is an homage to a redemptive sacrifice and Batman as Christ figure…sort of…The audience already knows how much life has been sapped out of the young Bruce Wayne because of his mission to avenge his father but also to help Gotham. Batman’s motives are often mixed here. Interestingly, this Batman, the Reeves’ Batman grows. He realizes that vengeance is not the full story of how he must respond to evil. To truly honor his dead father and mother, he must do more. He must minister good to the people of Gotham. Two images of Batman in the final scenes make my point. One is him diving into the abyss, lighting his flare and leading innocent people by hand, out of the flood, out of judgment. The other is him helping a wounded girl on a stretcher and holding her hand as she seeks his assurance and is flown away to safety, to healing. Why the hand? There is something about connection to humanity with the touch, a touch that is gentle, not violent.
The Russia Ukrainian War is raging as I write. Yesterday, Russian planes targeted a bomb shelter in Mariupol, a place holding hundreds of children and women. On the ground on either side of this structure, the Ukrainians had written in Russian the words “children” in very large script, large enough to see from the air. How do we as a society grapple with such evil and the destruction of so many innocents? (The number of dead is still undetermined…I will correct this when the fog of war has dissipated.)
So, I end with this image, Jesus of Sinai, Pantocrator, an icon from the the 6th century. For Christians of the 6th century, most of whom were illiterate, icons like this were essential to their faith because embedded within each icon are theological truths. For them, looking at an icon was like reading a holy text. With Jesus of Sinai, notice the weird lighting on his face, one darker side and one side lighter. That is intentional. Why? The post-modern viewer might not discern what his face represents but to early Christians, they represent two sides of the creator as God looks out over humanity. If you put up your hand and cover one side of the Messiah’s face, you see a bright and compassionate mouth and eye. When you cover the other side, you see a darker eye, an angry glare. The iconographer and the theologians of that time understood that both are legitimate sides of God and both are legitimate responses to a broken humanity. The story of God as laid out in the Bible is of God grappling daily with a society gone wrong. On one hand, he is merciful and forgiving, on the other, he is vengeful and ready to punish. Both are legitimate responses to the problem of evil. Current people of faith struggle with that darker view of God but might do well to ponder it. Noah and the flood tell its story as do Jesus and the cross. And here we see the author of the new Batman series exploring both reactions to evil, but favoring mercy in the end.
We live in a complicated world, but some truths/questions find their way into our art, even if that art is embodied by a comic book character.
Kudos to Reeves for attempting something really big in his portrayal of THE BATMAN.
What to expect when watching SPACE SWEEPERS…Great storytelling, compelling characters and a science fiction setting that evokes the best of a well-produced space opera. This film is free on Netflix. I rate it PG-13 for some violence, but it’s a bit like Star Wars type violence. Not a lot of blood, but definitely carnage.
5 Reason to Watch Space Sweepers, The Short Review
- characters, they’re funny, quirky and smart…They reminded me of many beloved STAR WARS characters
- Special effects, on par with cinematic space opera’s like Star Wars
- Family friendly, nothing offensive for parents trying to figure out what to show their kids
- Excellent space battles
- An ultimate choice for the main character(s) that packs an emotional punch
The Longer Review
This film assumes a space opera vibe and so reminded me of Star Wars, yet felt original. The pacing of this screenplay gave exactly the right amount of info while embedding a few nuggets that made me go back a rewatch portions. That was rewarding and I loved the heartbeat of the story’s core…the transformation of a rogue…think of Han Solo and his journey.
Not that this story only bleeds a happy ending. There is a tragic trade that takes place, a brutal choice for the main character. However, the overall adventure ranked above my expectations. When I’m streaming something online like this, I’m not expecting brilliance, but when it’s Korean made, I am coming to expect top-notch production. The Korean film industry is doing something right by focusing on great storytelling and upping the game at every turn when it comes to investing in the visual feast. SPACE SWEEPERS is no exception.
To note: The villain in SPACE SWEEPERS reminded me (visually) of Jack Dorsey, former Twitter CEO, former CEO as of today, November 30, 2021. I wonder if the film maker has/had a bone to pick with Twitter.
I will continue to seek out, watch and review Korean-produced scifi/horror/speculative fiction because in the last 2 years or more, the flow of great content is undeniable. For more Korean-productions that I’ve reviewed, see:
I had barely heard of SQUID GAME until about a week ago, but now the buzz is everywhere. If you’re like me, you’re wondering…Why all the hype about this Korean dystopian series?
So, last night, I watched the 1st of the 9 episodes and love what is being set up. This episode features a giant robotic girl that rules over a game of Red Light Green Light, also the episode’s title.
Here’s what I can say about the opening.
- An introduction to a variety of well-drawn characters
- Especially, the main character, Seong Gi-hun played by Lee Jung-Jae, is a sympathetic hero, a financially desperate divorcee with a gambling problem living with his mother
- The story draws together hundreds of below average types or “losers” to compete with one another for an extraordinary financial prize. (Losers is the word used by the creator and he makes great pains to show the audience his characters’ failings).
- A creepy robot child with roving eyes that shoot bullets. Tis the stuff of nightmares.
SQUID GAMES would probably receive a PG-13 or maybe even an R rating for violence. I am watching the dubbed version. The dubbing hasn’t bothered me.
There is a dystopian flavor to the story and the world, but its reality is not so hard to believe. What I mean by that is that the game world is not fantastical, nor is it futuristic. This game could be happening today on an island somewhere. The audience does get a shot of the island in episode 1, as well as the back of the billionaire maniacal overlord, who watches via screen as the contestants compete and try to stay alive.
Creator, Hwang, worked for ten years to get SQUID GAME made. The traditional studios wouldn’t touch it, but alternative streaming is proving again, that fresh stories are out there, often outside the Hollywood bubble. Cheers to Netflix in particular for curating and promoting dramas and comedies we would never otherwise see.
Click on the links below for more of my reviews of “outside the Hollywood bubble” stories that deliver. The first two are also Korean-made
Here is a really lame photo (yet authentic because it was taken in a dark theater) of our party of 4, my husband and I and two friends, watching our first film in an actual theater since Covid lockdown.
A QUIET PLACE II was what we watched and it is worth a trip to the theater. The suspense and scare moments are best viewed when in a humongous, dark location, alongside a bunch of others who will scream in unison with you. We ventured into a theater in Madison, Wisconsin last night, our mask mandate having been lifted the day before. (Dane County has one of the highest vaccination rates in the country).
Here are 5 reasons this film is worth your attention:
- This is true scifi (in the spirit of Ridley Scott’s Alien, AKA monster versus human)
- The storytelling is intimate in the best possible way, focusing on one family scrambling to survive in a nearly impossible world
- Jump out of your seat moments, but without the extreme gore found within the horror genre
- A longer story arc that builds tension and keeps the audience longing for more
- A dynamic deaf actress who plays a deaf character. An amazing role and an amazing performance by Millicent Simmonds
I must say, the group of us were giddy and joyful to be walking into the theater again after so many months of Netflix and Amazon Prime and Disney Plus, etc, etc, viewing by ourselves in our little hovels. The theater felt glorious and expansive.
Some economists ponder whether or not the movie theater will die as a result of our streaming habits (already in process before Covid). If last night is any indication, I would say no. Some films need to be viewed in community and in a massive, dark space.
All of us in our party had see the first installment. All of us had been pleasantly surprised with the quality of the story in that first film. Always suspecting the sequel will be lame, we didn’t venture into the theaters until we heard from critics and viewers that this second film was both consistent with the vibe of the first (did not lose its heart) yet deepened the overall tension. A third installment is being shot as I write.
I highly recommend you view the first film before going to the second. Here is my review of A QUIET PLACE
You can rent this first film on Amazon Prime for $3.99.
After which I highly recommend you view the second film and be prepared for a few jump-out-of-your-seat moments and a wonderful theater experience overall.
TRAIN TO BUSAN is the story of a father and daughter trying to make their way from Seoul to Busan. While on that journey, a viral outbreak that turns its victims into flesh-eating zombies, begins to ravage the country.
TRAIN TO BUSAN, set in Korea, is subtitled for English (and other language) speakers. This film was written for the screen by Sang-Ho Yeon and Joo-Suk Park and directed by Yeon. The film would probably receive a PG-13 rating for gore, the zombie kind, nothing worse that what you might see on AMC’s The Walking Dead. You can view this film for free if you are an Amazon Prime member. I loved it. In fact, I think the writing is brilliant.
Click here for the film’s trailer.
- Perfect writing/storytelling, including the pacing that ramps up quickly at about 10 minutes in
- Sympathetic characters. The father/daughter story at the heart puts this zombie flick in a category above most others
- Another fresh setting. By now, if you’ve read a few of my reviews, you know I am an advocate of consuming stories told outside of the Hollywood bubble
- Once the action starts, it doesn’t stop and much of it takes place in the close confines of a train or a train station
- A pitch-perfect ending
You may or may not be a fan of zombie stories. If you’re a fan, you have plenty to choose from and have probably already seen TRAIN TO BUSAN. If not, drop everything you’re doing and watch now. However, even if you don’t love zombie flicks, this story and the characters that inhabit it might win you over.
Seok-woo, a divorced father of one 10yo (or so) daughter, Soo-an, is a fund manager who works long hours. While he works, his mother cares for his daughter. They are based in Seoul, Korea. On the day the audience meets this family (the first minutes of the film), Soo-an is anticipating her birthday on the following day. She longs to be with her mother on her birthday. The problem, her mother lives in Busan, so Seok-woo must decide if he will accompany his daughter to Busan during a time when he is overwhelmed with work. He decides he will. In the first minutes, the audience has learned he has NOT been the most attentive father due to his demanding job. Is it guilt or something else that urges him to make this decision?
The decision is a sacrifice from his perspective, though he assumes he will be able to go very early in the morning, deposit his daughter in Busan and still return to Seoul to work a half day. The train trip (normally) is about 3 hours.
However, as they embark on the journey, a few unusual situations emerge, scenes the audience anticipates and knows are signs of something gone wrong.
The father and daughter board the train. The audience meets a number of the passengers, those who will become important characters in the story, and at the last minute, the zombie sickness manages to board with them.
The rest of the narrative is not a simple zombie story. Seok-woo must fight and learn to sacrifice, not just for his daughter, but for others. While he journeys, he will have many teachers, including his daughter. Amid all the stress, he grows and changes.
I gave this film a 10-star rating on IMdb, the highest available as I am becoming a huge fan of South Korean cinema. I LOVE the epic nature of the stories that are emerging from their film makers and will seek out more in the coming year. *stay tuned!
During COVID, I have been watching older science fiction films, whose theatrical release I might have missed. EQUILIBRIUM falls into that category. Written and directed by Kurt Wimmer, starring Christian Bale, Sean Bean, Taye Diggs and Emily Watson, this film is rated R for violence, released in 2002. You can rent it as an Amazon Prime member for 4 dollars.
I recommend this film. It’s not the most thoughtful science fiction around, but it was entertaining on a few levels.
Short Review, 4 Reasons to watch
- Christian Bale gives a nice performance
- The one idea that drives the plot does create tension and makes the audience think at least a little…(see longer review)
- Stylized fight scenes–if you like martial arts/Matrix type battles
- Tight, linear story…easy to follow (given I just watched Tenet in the theater, it’s nice to watch a film that is relatively straightforward)
Earth exists in a dystopian reality, post WWIII, led by a man the population calls Father, though the ruling powers are likely something broader than one man. These decision makers have determined that Earth will not make it through another world war and have created a rigid society for the sake of survival. Emotion is outlawed, so are all things associated with emotion, in the film’s case: art, music, nostalgia items, love/affection, sensual pleasure, pets. The ruling class gives the population a drug to dampen emotions. Most faithfully take their doses a few times a day, including Bale’s character, John Preston. Preston is called a cleric, which the audience learns is a highly trained enforcer of the government’s anti-emotion policy. He roots out the rebels and those who indulge in art of all types.
The incident that brings upheaval into Preston’s life is when his partner Partridge, played by Sean Bean, steals a poetry book they had confiscated. Preston confronts him when he catches Partridge reading Yeats for his own pleasure. He is sentenced to death, but not before he reads a few lines of poetry out loud. Soon after, Preston discovers Patridge’s lover, played by Emily Watson. When he realizes that his former partner had gone down this road toward emotions, even falling in love…it seems, he cannot go back….something in him is triggered.
The unraveling continues as Preston dreams and recalls his wife’s conviction and execution. She was caught “feeling” outside the bounds of what the society permitted. His son is a rigid rule keeper, but his daughter is obviously more emotional and possibly disturbed (who wouldn’t be in this world?). Preston stops taking the drug and begins to truly feel a lot more. His new partner, Brandt, played by Taye Diggs, begins to notice his odd behavior. In the meantime, the rebels begin to recruit Preston. They want him to kill Father.
There is a strange interaction between Preston and the leader of the rebels where the leader makes sure that Preston cannot allow himself to feel if he is going to do the job he needs to do. The leader also indicates that he himself buried his feelings. That raises an interesting question about feelings and soldiers who are called upon by society to perform a “justified” killing. The audience can see in this a reflection of Father’s maintenance of the population…Father has told his followers that they must not feel in order to perform righteously. I think the audience is supposed to ponder this and reflect on what it means to kill another human being (like killing the spirit of the person by outlawing art!), but the interaction does pass by pretty quickly and there is no further discussion on it. Moreover, many people die in this film, so if we’re supposed to feel horrible about murder/a crazy amount of killing…hmm…not sure.
There are almost zero female characters in EQUILIBRIUM, which begs the question…
Is a non-emotional world a place where women have a hard time existing? I suspect so, at least in this film world. All of the female characters who have significant screen time (which isn’t much) are in the rebel category. Even Mona Lisa cannot exist in this world. (Da Vinci’s masterpiece is destroyed in an early scene). I appreciated the Emily Watson character, but she is one among six guys who dominate every scene. I realize a lot of folks don’t care about this issue…but I like to contemplate…Does it have to be this way? Would this film say something deeper and broader about humanity if one of the hardcore cleric characters was a woman? Or maybe the filmmaker was showing us what a world might look like without women, without mothering, nurturing and emotional connection…and maybe without them…art could not exist. That is an interesting idea, but I don’t think this film quite got us there.
Good science fiction does often grapple with the question, what does it mean to be human? The equilibrium sought out by the government in this film, is tentative and only possible because of the numbing of the population through a constant intake of a drug. EQUILIBRIUM portrays characters who will forego taking the drug, are willing to die and choose to sacrifice all for the sake of feeling. Art, poetry, music, love, affection and warmth in relationships…we cannot be human without them. We cannot live without them.
For that reason, I found EQUILIBRIUM a hopeful picture of humanity. Love, creativity and expression will burst forth. It cannot be contained. It can never be fully squelched and is a hopeless task of any government to try to do so.
KINGDOM is brilliant.
Rated R for violence. No sexually explicit content at all. Not even a kiss. And yes, this is a zombie story, but with a twist, which I’ll explain in my longer review. However, be prepared for gore. I watched 2 seasons, but apparently a 3rd is being made to be released in early 2021.
First, the short review…
6 Reasons I Recommend KINGDOM
- Game of Thrones meets the Walking Dead. If the two stories got together and had a child, KINGDOM would be that child.
- Gorgeous costumes, especially the hats
- Palace intrigue galore
- Amazing performances by talented actors many of us have never seen
- A refreshingly different setting and world
- Lots of “scare” moments where you jump out of your seat. These filmmakers know the tropes and use them well.
The story is based loosely on the Manga series, The Kingdom of the Gods by Kim Eun-hee and Yang Kyung-il. The story for television was written by Kim Eun-hee, directed by Kim Seong-hun.
Set in late 16th century Korea (The Joseon Period), Crown Prince Lee Chang, our protagonist, discovers a plot to unseat him. His father is ill and dying and the Queen Consort (not the Prince’s mother) is pregnant with a son…potentially. She and her father are angling for this newborn to take the throne. However, the King must not die from his illness before this child is born, so the the palace doctors are asked to keep him alive at all costs. There is an herb, called the resurrection plant, that must be administered to him in a particular way at death. From this herb, the brain comes back to life, but the creature that resides in the body now has an insatiable hunger for human flesh. Thus, the zombie angle.
The audience is introduced to this creature, the King in the first episode, so no spoilers here. The King is not only a zombie ready to devour any attendant who comes his way, he is being controlled, in chains, by the Queen’s family. She bans the Crowned Prince from seeing his father and although he suspects the King is dead, he cannot prove it. Knowing his life is in danger without his father’s protection, the Crowned Prince flees and while he goes into hiding, the zombie plague is carried to a small village through a body in a coffin, whose death was caused by the King creature.
As the Zombie plague spreads and begins to ravage the region, the Prince comes into his own, fighting to protect his people, but this is a complicated two-front war. The Prince is being chased by his step mother’s clan while fighting the zombie masses. While on the countryside, he slowly unravels the mystery surrounding the condition of his father and does eventually come back to the palace, face to face with the creature. I say no more, lest I spoil…
A few of the secondary characters that emerge are wonderful and as compelling as the Prince and the Queen, including the Prince’s bodyguard, a nurse who escapes the scene of the first zombie outbreak, a perfect villain in the Father of the Queen (although the Queen gives him a run for his money on that score), and a rogue hunter who eventually aligns himself with the Prince.
I loved the writing, all the dialogue is perfect and no scene is wasted. KINGDOM often reminded of Shakespeare, Hamlet in particular…That is how well put together these characters are and the stage is…well, many lovely locations in South Korea.
I cannot recommend this series highly enough. If you do watch it, drop me a line and let me know what you thought of it.
To watch the official trailer, click KINGDOM trailer
The second season of HANNA was released July 3 of this year, the dreaded year of Covid, and since all of us are streaming our content each night/day/allday/allnight (until recently, there have been no sports to watch and no air-conditioned movie theaters in which to view the latest fun film)…However, most of us are still suckers for a well-crafted drama. The release of Hanna’s second season by Amazon Prime found me in just the right place for a conspiracy-laden story, inhabited by teens.
I rate this series R, mostly for its violence. HANNA, created and written by David Farr, also portrays a disturbing picture of childhood, so if you have young children/teens who want to watch, you may want to preview this before allowing them to enter into the violent world of Hanna. Other than that, I highly recommend this series. It skirts the line that is science fiction and dystopian.
Short Review of HANNA. 6 Reasons You Want to Watch…
- Well written story and well-crafted characters
- Outstanding performances by Joel Kinnaman, Mireille Enos (they’re reunited here…having starred together in the award-winning detective series, The Killing.) Hanna is played by Esme Creed-Miles. She’s a British actor, but pulled off the German accent. I don’t think she actually speaks German, but she did speak French fluently. Kinnaman is Swedish. He also carried the German accent and spoke a lot of German to make this role believable.
- Timely. A US intelligence service, broken into factions, clawing at more power? Perhaps too real…
- Truth and morality emerge in the most unlikely places and the story reminds us of that.
- I love the way the characters rarely shout. Erik (Kinneman) and Hanna (Creed-Mills) both have this quality. They speak with intensity, but always quiet and measured, understated. I found myself loving this vibe more than I thought I would, maybe my Scandinavian roots…
- A story set in Europe, especially Berlin, London and Paris. Hurray, given we cannot travel there right now.
One of the things I liked about this production was its willingness to go slow. That might sound weird because the story moves at a pretty fast clip, but there is also time in each episode to absorb what is taking place in the character’s lives, in their hearts. I attribute part of that pacing to the editing. THANK YOU DIRECTORS AND EDITORS! It surprised me sometimes what was not put on the screen/what was skipped, but it also revealed what was most essential for the story. I found my brain willing to allow the holes in the plot because the true drama was not withheld from my view.
In season 1, the audience is introduced to Hanna as a baby, also to her mother and to her mother’s savior, Erik (Kinneman) who ends up rescuing Hanna from destruction. Erik, though German, is an insider with the US intelligence agency that is accepting babies in order to turn them into super assassins. Erik becomes Hanna’s guardian and the audience believes he might actually be her father. He isn’t. When Hanna finds out he has lied to her about his biological relationship to her, she is enraged.
Telling the truth is VERY important to Hanna. This seems consistent throughout and is refreshing as a character trait. It grounds the viewer, even when Hanna’s allegiance to the “good” or the “evil” entities in the world seems confusing. Hanna punishes those who lie to her, even when those individuals are her allies.
That dynamic of telling truth versus lying, or shrouding the truth reminds me of how teens (I’ve raised a couple and counseled many) have a nose for truth or fiction. They sense when adults are lying to them. Just tell me the damn truth and don’t protect me from it because you think I can’t handle it said every teen ever.
And I love that about them. I loved that about Hanna. She is so pure in that sense, the audience is ready to root for her in just about any circumstance, even when it feels like she is about to give in to evil.
Hanna has been renewed for a third season. I look forward to seeing how the writers develop this story.